The aim of the research was to establish an independent and complex net- work for the technology art community, encouraging regional artists to work collectively and use their unique cultural knowledge to solve related problems and provide alternative support for interdisciplinary artist groups and independent artists outside academic and commercial art systems. The research specifically focused on the formation methods, history, and financial models of international collectives, independent art groups, and networks to explore their sustainability. Interviewees included not only organizers associated with the “Camp” network but also several alternative targets, such as institutions that use EU funding or mixed funding sources, such as Re-FREAM or Fablab. They were used as reference groups compared to other autonomous camps or non-subsidized and independent activities. Another reference group, Senyawa, provided insights into the colonial issues and cultural differences that arise from Western-Eastern exchanges.

The purpose of this research is to establish a preliminary exploration framework for a proposition: how we reshape and imagine a transnational and sustain- able industry or platform. The study explores how these units and individuals collaborate in international networks, share their technology and knowledge, and communicate between different cultures in the current global context. Additionally, the experiences of these interviewees can provide inspiration for other organizations and individuals, especially in the cross-disciplinary field between technology and art, to understand the diversity of thought and practice of different reference groups. At the same time, they have a common goal of open accessibility to share knowledge and skills. As the art world continues to advance towards privatization, it is crucial to cultivate critical and theoretical practices beyond institutional restrictions and allow material knowledge and information to flow freely across borders.